Brittany Bellizeare as Pecola (foreground) in the Guthrie Theater’s production of The Bluest Eye. Photo by Dan Norman.

During the 2017 calendar year, I saw more than 150 theatre performances. That tally excludes shows that I directed and dance-only performances, but includes spoken theatre, musicals, opera, improv, and pretty much anything in-between. Most of the performances were in Minnesota or nearby Wisconsin; several dozen were not.

With no further ado, here is an unranked list of my 10 favorite local stage performances from 2017:

The reasons why performance memories linger are many and varied, but some of the reasons that these shows were selected include:

The masterful blending of comedy with historical exposition in Sheep Theater’s Assassination of the Archduke. What would normally be far too much backstory became hilarity with Joey Hamburger’s script and Michael Hugh Torsch’s directing, elevated by John Hilsen’s score.

The timeliness and weight of the social commentary in Savage Umbrella’s Not A Str8 Remount.

The depth, breadth, technical difficulty, and polish of the dancing in the Ordway’s In the Heights.

The Jungle Theater’s Ms. Bennet defying the odds to create a worthy sequel to one of Jane Austen’s most beloved novels – and turning a literary wallflower into a very interesting and compelling protagonist in her own right.

The highly effective use of found spaces in Skylark Opera’s Don Giovanni at the Minneapolis Women’s Club, which cemented the company’s comeback from a financial crisis.

Boudoir comedy done to its logical operatic extreme in Minnesota Opera’s The Marriage of Figaro.

The introspection produced by the Guthrie Theater’s staging of Lydia Diamond’s The Bluest Eye, especially about socially constructed concepts of beauty and hierarchy.

If you’re going to do Gothic horror romances in musical form, it’s hard to beat the epic scale of the Phantom of the Opera Broadway tour. Nothing does the genre quite like Phantom, and this production brims with sweeping grandeur and lush visuals that suck you in – to say nothing of the terrific cast

Latté Da’s Peter and the Starcatcher was completely different in feel from the Broadway tour of recent years, with director Joel Sass finding threads of energy that made some people loudly proclaim this a superior product – and much more in-your-face in the intimacy of the Ritz Theater.

Missed any of these shows? Here’s a sample of their imagery:

Black Stache (Pearce Bunting) hooks Peter (Tyler Michaels) into a sticky situation in Theater Latté Da’s 2017 production of Peter and the Starcatcher. Photo by Dan Norman.A promotional image for Bearded Men Improv’s Swords & Sorcery: The Improvised Fantasy Campaign.Brittany Bellizeare as Pecola, Carla Duren as Claudia, Regina Marie Williams as Mama, and Deonna Bouye as Frieda in the Guthrie Theater’s 2017 production of The Bluest Eye. Photo by Dan Norman.A promotional image for Sheep Theater’s Assassination of the Archduke of Austria-Hungary Franz Ferdinand.Jacques Imbrailo as Count Almaviva, Richard Ollarsaba as Figaro, and Johanni van Oostrum as Countess Almaviva in Minnesota Opera’s 2017 production of The Marriage of Figaro. Photo by Dan Norman.The Phantom (Derrick Davis) tries to win a horrified Christine (Eva Tavares) in the National Tour of The Phantom of the Opera. Photo by Matthew Murphy.

If you weren’t otherwise aware, I am the Artistic Director of Really Spicy Opera, an Opera America member organization that performs in Minnesota and tours internationally. I also freelance around town, directing 12 productions in 2017. As a matter of course, I exclude any show that I directed from lists that I curate – doing otherwise would be crass.

Basil Considine is the Performing Arts Editor and Senior Classical Music and Drama Critic at the Twin Cities Arts Reader. He was previously the Resident Classical Music and Drama Critic at the Twin Cities Daily Planet and remains an occasional contributing writer for The Boston Musical Intelligencer and The Chattanoogan. He holds a PhD in Music and Drama from Boston University, an MTS in Sacred Music from the BU School of Theology, and a BA in Music and Theatre from the University of San Diego.